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Relevant bibliographies by topics / Jews on television

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Academic literature on the topic 'Jews on television'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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Journal articles on the topic "Jews on television"

1

Langer, Armin. "Telling Holocaust Jokes on German Public Television." Race and European TV Histories 10, no. 20 (December 1, 2021): 7. http://dx.doi.org/10.18146/view.263.

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Since 2015, Israeli-born German artist Shahak Shapira has initiated several satirical campaigns targeting antisemitism and racism in Germany and the country’s relation to the Holocaust. These interventions set Shapira’s career in motion, and in 2019 he landed a slot on the ZDF public broadcasting channel for the talk show Shapira Shapira. The show mocked antisemitism and far-right movements in Germany and reminded the viewers of the country’s history with Jews. His jokes about concentration camps and their contemporary perceptions proved to be especially effective. This article shows how Shahak Shapira and his show challenged the official narratives about Jews, antisemitism and the Holocaust. It argues that Shapira’s jokes might empower Jews and foster Holocaust awareness among the general public in Germany.

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Nudelman, Anita. "Understanding Immigrant Adolescents." Practicing Anthropology 15, no. 2 (April 1, 1993): 13–15. http://dx.doi.org/10.17730/praa.15.2.t353674j532r1401.

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At the beginning of 1985 Operation Moses was underway, bringing thousands of Ethiopian Jews from refugee camps in Sudan to Israel. Seeing an Ethiopian child on Israeli television brought me back to my grandfather's house in New York and to myself as a child. My grandfather, Rabbi Leo Jung, had assisted Jewish communities all over the world for many years. When I visited him I always looked forward to his bedtime stories about Jews in different places and to his accounts of his own experiences and travels. This is how I first heard about the Jews on the island of Djerba, and in Persia, and about the "Black Jews" of Ethiopia.

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Shemer, Yaron. "From Chahine’s al-Iskandariyya … leh to Salata baladi and ʿAn Yahud Misr." Middle East Journal of Culture and Communication 7, no. 3 (2014): 351–75. http://dx.doi.org/10.1163/18739865-00703006.

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This study examines the discursive trajectories of the cosmopolitan Egyptian Jew in the documentaries Salata baladi (Nadia Kamel, 2007) and ‘An Yahud Misr (Amir Ramses, 2012) in light of Youssef Chahine’s classic al-Iskandariyya … leh (1978). Undoubtedly, each of these films provides a complex story of Jewish life in Egypt and, taken together, these creative works offer an alternative to formulaic representations of Jews in Egyptian cinema and television. Yet, a close analysis of the three films reveals an underlying problematic rendering of cosmopolitanism in the context of the Egyptian Jewish community. Arguably, the filmmakers’ main interest in attending to the Jewish question relates more to nostalgic views of Egyptianness (of the pre-1952 Revolution era) as a cosmopolitan, multiethnic and multi-religious identity, than to a genuine interest in Jewish life, history and religion. In other words, the limited and skewed view of the Jewish community, with its near exclusion of the poor, uneducated, monolingual and religiously traditional Jewish residents of Egypt, is driven primarily by anxieties about Egyptian identity in which cosmopolitan Jews are assigned a supporting role in the play of an idealized Egypt of the past and in challenging xenophobic sentiments in the present.

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Martin, Amaya. "NAJI ATTALLAH’S CREW: STEREOTYPES OF JEWS, ARABS, AND AMERICANS IN EGYPT’S MOST-‐WATCHED RAMADAN 2012 SOAP OPERA." Levantine Review 4, no. 1 (May 1, 2015): 8. http://dx.doi.org/10.6017/lev.v4i1.8717.

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In addition to its strict fasting regiments, observed by practicing Muslims, the month of Ramadan has become known for its high viewership of serialized television programs throughout the Arabic-speaking world. During Ramadan - a month during which millions partake of festive fast breaking (Iftaar) gatherings after sundown - competition among television stations pull all the stops to attract the largest audiences possible, often by offering compelling seasonal soap operas featuring major local and pan-Arab actors.

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JORDAN, JAMES. "Assimilated, Integrated, Other: An Introduction to Jews and British Television, 1946–55." Jewish Culture and History 12, no. 1-2 (August 2010): 251–66. http://dx.doi.org/10.1080/1462169x.2010.10512153.

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Shukrun-Nagar, Pnina. "Disputing while covering a dispute on television news." Language and Dialogue 3, no. 2 (September 3, 2013): 208–33. http://dx.doi.org/10.1075/ld.3.2.04shu.

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This paper discusses the potential of semantic, pragmatic and grammatical devices used in the Israeli television news coverage of a dispute to promote one agenda, negate a contradictory one and position the correspondent as a participant in the dispute. Moreover, I argue that viewers of news identify at least some of these devices and attribute an argumentative role to them. To support this, I analyze questionnaires in which native speakers relate to a specific news item, focusing on the three most common devices interpreted: implicatures, emotionality and textual planning. The discussion sheds light on dialogical interactions between, first, correspondents and their addressees; second, between the correspondents’ words and their co-texts, contexts and other occurrences of these words or their synonyms in public discourse. The corpus includes 19 items on a struggle between ultra-Orthodox and secular Jews in Israel broadcast in 2009 on Israel’s Channel 2 television news.

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Kift, Roy. "Comedy in the Holocaust: the Theresienstadt Cabaret." New Theatre Quarterly 12, no. 48 (November 1996): 299–308. http://dx.doi.org/10.1017/s0266464x00010496.

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The concentration camp in Theresienstadt in the Czech Republic was unique, in that it was used by the Nazis as a ‘flagship’ ghetto to deceive the world about the real fate of the Jews. It contained an extraordinarily high proportion of VIPs – so-called Prominenten, well-known international personalities from the worlds of academia, medicine, politics, and the military, as well as leading composers, musicians, opera singers, actors, and cabarettists, most of whom were eventually murdered in Auschwitz. The author, Roy Kift, who first presented this paper at a conference on ‘The Shoah and Performance’ at the University of Glasgow in September 1995, is a free-lance dramatist who has been living in Germany since 1981, where he has written award-winning plays for stage and radio, and a prizewinning opera libretto, as well as directing for stage, television, and radio. His new stage play, Camp Comedy, set in Theresienstadt, was inspired by this paper, and includes original cabaret material: it centres on the nightmare dilemma encountered by Kurt Gerron in making the Nazi propaganda film, The Fuhrer Gives the Jews a Town. Roy Kift has contributed regular reports on contemporary German theatre to a number of magazines, including NTQ. His article on the GRIPS Theater in Berlin appeared in TQ39 (1981) and an article on Peter Zadek in NTQ4 (1985).

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Stsiazhko, Nataliia G. "The Image of the Holocaust in the Television Documentary Drama Trilogy “The Chronicle of the Minsk Ghetto”." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 56–98. http://dx.doi.org/10.21638/spbu15.2021.104.

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The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.

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Lazić, Katarina. "LIKOVI IZ „GOLOG ŽIVOTA“." Nasledje Kragujevac XIX, no. 51 (2022): 421–27. http://dx.doi.org/10.46793/naskg2251.421l.

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The topic of this work will primarily be the characters from the documentary film Bare existence directed by Aleksandar Mandić. The scenario for the film was written by Danilo Kiš himself. It was filmed in March 1989. in Israel. For the first and only time, Danilo Kiš appears in front of the camera in the role of a television narrator who represents the destinies of two Jews, Jovanka Ženi Lebl and Eva Nahir Panić, seven months before his death. Through their lives, the history of our region from the 1930s to the 1960s, poverty, communism, war, the State Security Service (UDBA), emigration, etc. are narrated in an exciting way. The series Bare existence was premiered in February 1990., six months after Kiš’s death, as the last tel- evision program that all citizens of the former Yugoslavia could watch together. The series consists of four episodes.

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Rabinowitz, Paula. "It’s Still There." boundary 2 47, no. 1 (February 1, 2020): 115–43. http://dx.doi.org/10.1215/01903659-7999532.

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Daniel Blaufuks’s video Als Ob/As If formally interrogates the history of Holocaust imagery using a close visual examination of the 1944 “Staged Nazi Film” shot in Thereseinstadt. Layering his footage from present-day Terezín with a number of earlier films and television shows shot at or about the Nazi concentration camp, he contemplates the role of the image, both still and moving, in the creation of memory and history of the Holocaust. His video and phototextual book connect to literary explorations of the Czech concentration camp—by Georges Perec, W. G. Sebald, and Jiří Weil—as well as cinematic documentaries about the Nazi murder of European Jews by Alain Resnais, Claude Lanzmann, and Jean-Luc Godard. By focusing on contemporary Terezín, Blaufuks also brings to light aspects of memorialization within post-totalitarian societies investigated by filmmakers Petra Epperlein and Chantal Akerman, as well as by scholars of the Holocaust and post-Soviet Eastern Europe.

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Dissertations / Theses on the topic "Jews on television"

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Minnick, Susan L. "A shanda fur de Yehudim : Jewishness in network sitcom television /." Thesis, University of North Texas, 2004. http://wwwlib.umi.com/dissertations/fullcit/1422462.

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Branfman, Jonathan R. "Millennial Jewish Stars: Masculinity, Racial Ambiguity, and Public Allure." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155490057529243.

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Clasing, Jens [Verfasser]. "Anwendung und Praktikabilität der Televisite der unfallchirurgischen Abteilung eines Krankenhauses der Regelversorgung / vorglegt von Jens Clasing." 2008. http://d-nb.info/992490863/34.

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Books on the topic "Jews on television"

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The Jews of primetime. Hanover, N.H: Brandeis University Press, published by University Press of New England, 2003.

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2

Neal, Gabler, Rich Frank, Antler Joyce, American Jewish Committee., Annenberg School of Communications (University of Southern California), and Jewish Television Network, eds. Television's changing image of American Jews. [New York?]: American Jewish Committee, 2000.

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3

Oren, Tasha G. Demon in the box: Jews, Arabs, politics, and culture in the making of Israeli television. New Brunswick, N.J: Rutgers University Press, 2004.

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4

Judith, Pearl, ed. The chosen image: Television's portrayal of Jewish themes and characters. Jefferson, N.C: McFarland, 1999.

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5

Roe, Yale. I followed my heart to Jerusalem. Fort Lee, N.J: Barricade Books, 2005.

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6

Senhor Mosaico: Francisco Gotthilf e o Programa Mosaico na TV: o mais antigo programa da televisão brasileira, no ar desde 16 de julho de 1961. São Paulo: Narrativa Um, 2006.

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Gershzon, Grigoriĭ Zvi. Po obe storony ėkrana: Zametki ob izrailʹskom televidenii. Ierusalim: Kakhol'-Lavan, 1990.

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8

Over the top Judaism: Precedents and trends in the depiction of Jewish beliefs and observances in film and television. Lanham, Md: University Press of America, 2003.

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9

Never mind the Goldbergs. New York: PUSH/Scholastic Inc., 2005.

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Never mind the Goldbergs. New York: PUSH, 2006.

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Book chapters on the topic "Jews on television"

1

Abrams, Nathan. "Jews in Contemporary Cinema and Television." In The New Jewish American Literary Studies, 216–31. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108665322.014.

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Stavans, Ilan. "Introduction." In Jewish Literature: A Very Short Introduction, 1–6. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780190076979.003.0001.

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“Introduction” explores the appellation “People of the Book” as it pertains to the Jews, arguing that, theologically as well as culturally, Jews depend on books to exist. The work of Argentine man of letters Jorge Luis Borges is invoked to introduce the concept of aterritoriality. Modern Jewish literature does not have a specific address and is written in multiple languages. There is a connection between Hasidism, Franz Kafka, Hannah Arendt, Isaac Bashevis Singer, Israeli literature, and the work of Jewish writers in other diasporas. Jewish literature should also include graphic novels, film scripts, television shows, and other textual manifestations.

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Smith, Paul Julian. "Race on TV: Crónica de castas [Chronicle of Castes] (Canal 11, 2014)." In Dramatized Societies: Quality Television in Spain and Mexico. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781781383247.003.0008.

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Chapter 7 enlarges the focus on gender and sexual politics to embrace race and ethnicity. Beginning with a historical account of the complex representation of race in Mexican visual culture (painting, film, and TV), it goes on treat a unique example of a series focusing on that repressed subject. Shot and set in a working class barrio of Mexico City, this series charts the troubled consequences of ethnic mixing in Mexico, presenting little seen (and heard) indigenous characters of different kinds and enlarging its focus to embrace local Jews, Basques, and working-class transvestites. Race, gender, religion, and social class are thus cut and shuffled in this invaluable drama.

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Weinberg, David H. "Towards the Future: Religious, Educational, and Cultural Reconstruction." In Recovering a Voice, 286–345. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906764104.003.0007.

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This chapter assesses how the Jews of France, Belgium, and the Netherlands dealt with the unprecedented religious, educational, and cultural needs of their diverse constituents. The sharp increase in the number of alienated and unaffiliated Jews was a source of deep concern to rabbis and religious educators. In response, Orthodox institutions initiated liturgical changes that they hoped would make religious services more attractive. Liberal Judaism also made new inroads. Many young Jews had lived through the war years without any access to Jewish learning or Jewish communal life. In addressing the needs of this ‘lost’ generation, local Jewish educators not only had to develop innovative pedagogical techniques, such as informal classes, public lectures and discussion groups, and the use of radio, television, and film but also had to find ways of reintegrating young people into Jewish and general society. Thanks to funds received from the Claims Conference in the early 1950s and with the assistance of teachers and curricula supplied by American and Israeli agencies, Jewish pedagogues, rabbis, and administrators in western Europe not only formulated creative strategies to educate children, but also set about training new administrators, spiritual leaders, and schoolteachers.

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Dean, Carolyn J. "French Discourses on Exorbitant Jewish Memory." In Aversion and Erasure. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9780801449444.003.0003.

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This chapter discusses the general effort of French intellectuals after the 1980s to define victims and the experience of victimization in a new cultural context. Among many scholars and critics in France, Jews, the particularity of whose sufferings under the Vichy regime and in the Holocaust were only belatedly recognized, have been increasingly associated with victims and a hyperbolic rhetoric of victimization. The sustained attention paid in the last two decades both to Vichy's crimes against Jews and to the Holocaust itself in speeches, commemorative rituals, trials, and television shows led not only to an association of Jewish identity with collective injury, but also, to a French backlash against too much Jewish memory. French journalist and writer Nicolas Weill uses the term “Holocaust Fatigue” to describe the same phenomenon, and views it as the “probable cause” of public apathy when anti-Semitism allegedly resurged in France between 2000 and 2002.

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"The Other as a Mirror: Representation of Jews and Palestinians on Argentinian and Chilean Television Screens." In The New Ethnic Studies in Latin America, 148–65. BRILL, 2017. http://dx.doi.org/10.1163/9789004342309_010.

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Hanno Schwind, Kai. "«My God, that’s funny»: Religionshumor i amerikanske og britiske komedier." In Ingen spøk, 55–74. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.69.ch3.

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This chapter discusses different approaches to religious satire from the context of the Anglo-American cultural sphere by exploring various television comedies, such as The Vicar of Dibley, Father Ted and the work of Monty Python in the UK, and The Simpsons, South Park, Family Guy and Curb Your Enthusiasm in the United States. From stand-up jokes, cartoons and sitcoms about priests and men of faith to satires of the contemporary culture clash between Christians, Jews and Muslims, humour about religion in the United States, Britain and the pan- Scandinavian context operates from the same premise: identifying and negotiating the contradictions between our own Christian traditions and the challenges of religious pluralism and freedom of speech in an increasingly globalised world.

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Glinsky, Albert. "Bronx Cheers." In Switched On, 17—C2.P32. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197642078.003.0002.

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Abstract The theme of Chapter 2 is the convergence of Bob’s two talents: music and technology. The hobbyist and ham radio culture of the 1940s is influential, and Bob discovers a Radio and Television News article showing how to build your own theremin, an electronic musical instrument invented by Leon Theremin. He knows little about the history of the instrument or its inventor, and is unaware of Clara Rockmore, the reigning diva of the theremin. But he builds the theremin, a project that will define the rest of his life. He attends the elite Bronx High School of Science. His aunt, Florence Moog, a scientist and university professor, is introduced in this chapter; she will remain one of his biggest lifelong influences, encouraging his scientific and intellectual development. Socially ostracized at Bronx Science, Bob finds acceptance at the Free Synagogue of Flushing. He applies to the Ivy Leagues despite their known discrimination against Jews.

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Suleiman, Camelia. "Autobiography and Language Choice." In The Politics of Arabic in Israel. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474420860.003.0005.

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This chapter studies the writing of Sasson Somekh, Anton Shammas and Sayed Kashua through the lens of their personal biographies, their background and their language choice. All three are native speakers of Arabic, albeit, from three different generations and three different faiths, but they all choose to write in Hebrew. The language choices of these authors help us understand the asymmetrical relationship between Israelis and Arabs, as well as the global linguistic homogenisation and perhaps the effects of collective traumas on the individual. The chapter concludes with a section on the ‘Arab Jew’, and the challenges of maintaining both constructs of this identity in Israel, in the case of the documentary of the ‘Ethnic Devil’ broadcast on Israeli television in summer 2013, and the case of the sociologist and poet, Sami Chetrit, an Arab Jew who does not speak Arabic.

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Crepeau, Richard C. "Moving to Center Stage." In NFL Football, 55–73. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043581.003.0004.

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1959 was a milestone year for football and the NFL. Vince Lombardi became head coach at Green Bay; the national media gave increasing attention to the NFL with a Time cover story and CBS’s “The Violent World of Sam Huff” leading the way; and Pete Rozelle was chosen the New Commissioner following the death of Bert Bell. Lamar Hunt and “Bud” Adams announced the formation of the American Football League in 1959 and a battle to sign players followed. The signing battle was costly to both leagues and put great pressure on all teams to settle. The AFL was aided in its survival by television contracts and their millionaire owners. The AFL moved to sign African-American players and this accelerated the desegregation process. The AFL played a different style of football and that helped attract fans. Key developments included the signing of Joe Namath by the New York Jets, expansion of both leagues, and wild spending on bonuses in 1965. In 1966 Lamar Hunt and Tex Schramm began secret negotiations on a merger. The settlement in 1966 was complicated but did include the agreement for an AFL/NFL Championship game and a retention of separate leagues until 1970. The merger approval by Congress involved political maneuvering including the creation of the New Orleans franchise in exchange for Congressman Hale Boggs’s work on the legislation. Between 1966 and 1970 the details were worked out by a Merger Committee representing both leagues. The final obstacle was divisional realignment necessitating some NFL teams moving from the National Conference to the American Conference. This was settled when Cleveland, Baltimore, and Pittsburg agreed to a move. In the meantime the Super Bowl was already becoming a major event aided by Joe Namath’s guarantee of a Jets victory in Super Bowl III.

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